The new documentary from director Marie-Monique Robin about the French village Ungersheim.

An obsessed scholar attempts to withdraw from the world but finds personal ties drawing him back into the family he had left behind, in this novelistic, beautifully modulated drama from acclaimed Québécois filmmaker Bernard Émond.

When Julien discovers that his newborn daughter, Rose, carries an undiagnosed down syndrome, his entire world collapses. How can he cope with his daughter’s handicap? Will he be able to love her fully, even though she isn’t the child he expected? Supported by his first-born daughter Alice, guided by her innocence and her infinite goodwill, the young father finds the strength to overcome his anger, and travel the difficult road that will lead him to the unconditional love and acceptance of his child.

In this film that sends up the foibles of filmmaking, a standard crew of actors, stage-hands, director, writers, producers, and others are gathered for the filming of a 45-second automobile commercial. Each role embodies an archetype (the harried director who has a deadline to meet, the Scrooge production manager who has a budget to meet, and the writers who are above these mundane concerns), and these personalities drive the working actors over the edge until they decide to lock them up and do their own thing -- happiness can be just around the corner if you are in the driver's seat. Hopefully, the actors will be able to bow out before the police catch on to the situation.

The filmmaker films his childhood friends, who have remained in the rural Essonne region where he grew up. Their daily life of idleness, drinking or work is set to the rhythm of music. A film made with them, to discover what is rumbling in the region's forgotten and marginalised areas.

An overview of the life and work of legendary Japanese filmmaker Kijû Yoshida, a notable figure of the Japanese New Wave.

A parody of feminist criticism on found footage covered by humoristic chisellings, signs or hasty figurative elements. Sometimes, chisellings are fine, and sometimes they are treated in large shots (razor tears, acid, cutting the film itself, wide spraying, thick stamps). A bedsheet is used as the final screen from which various women's evocations are represented.

Directed by Ahmed Kacem Akdi.

Hiding death does not make it disappear. A little girl who suffered from the silence of adults felt dispossessed of her right to mourn. As an adult, she recounts the tender gestures that bind her to the dead.